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Tuesday, September 28, 2010

We've been undergoing some radical reorganization at the agency due to computer and network failure, both of which have been operating only intermittently. So, apologies for not updating you sooner, but we promise to return to our regular postings by Friday, Oct. 15. And we've got plenty of projects in the making, so stay tuned!

However, we do have some exciting news for our very own A.M. Dellamonica. Indigo Springs was the winner of the 2010 Sunburst Awards! This highly prized award is for Canadian Literature for the Fantastic. Dellamonica was competing with big name authors such as Charles de Lint and Cory Doctorow. Congrats Alyx!

Wednesday, July 21, 2010

First, one must acknowledge ones utter and complete absence from the digiverse. One month off the blogosphere and it feels like a dead-zone!

This here blog, I doth declare, is about the series phenomenon. Okay, not so phenomenal. In fact...sometimes downright scary! For an agent that is. I'm talking about one thing right now: Do we agents want to read that you have written your sixth book in a twelve book series? Don't we want to know that you have a never ending Old Faithful of Imagination?

No.

We agents do NOT want to hear that you have written twelve books and that you are proudly submitting #6. You wanna know why? Because I don't want to have to read Books 1-5 just to understand Book 6. And in most cases it's worse if the other books have been published before (traditional or self).

If they've been published by a traditional publisher before, then it's likely that they were dropped because of sales. Not many publishers are going to want to pick up a book in a series that didn't do well in the first place. "But it didn't get the right marketing!" you might say. And you might be right. No matter, numbers are numbers.

If you've self-published the first five books and Book 6 is knock-my-socks-off stellar, a traditional publisher isn't going to want to have Books 1-5 out there for free while Book 6 is on the shelves at B&N, so really you're back to square one...or Book 1, that is. And maybe Book 1 just kinda stank.

So you're best bet when querying -if you intend for your ms to be part of a series- is to say something like, "Though I have written this book as the first in a series, it can also work as a stand alone novel."

Thursday, June 17, 2010

Yes, we all love a book with a good, strong voice. But...what does that mean, exactly? Let's say you are writing in 1st person POV. That's certainly the easiest way to create voice (though not to say it is easy). How do you create this elusive voice? My first answer would be to really make sure you know your character. Is s/he strong willed? Funny? Sarcastic? Sweet?

Spicing up your narrative with the occasional dose of humor (if appropriate to the story) may be a good way to create voice. Funny is hard, though. If you are writing YA, don't just read everything that's out there in the genre to determine what is funny to teens today - though that's a great way to start. Watch the successful movies and TV shows that have humor that works for that age group too.

Sarcasm. A very common way to provide voice to a teen protagonist. Of course, right? All teens respond to sarcasm. IMO, there is witty sarcasm and then there is just plain mean, non-witty sarcasm. If you're doing that second one chances are your main character is going to be really unlikeable. Ask yourself, if I were to have a conversation with my protagonist, would I want to listen to them go on and on for another 200+ pages? If the answer is no, you need a new voice. Also, keep in mind that a lot of other people are trying to write similar, angst-ridden hormone-driven characters. Maybe your protagonist is special. How?

How else can you create voice? There are more subtle ways than those two. Maybe your character is just sugar and spice and everything nice. A really sweet girl, who never thinks a bad thing about anyone. So much opportunity for her to make excuses for andmisreadthe people around her! That's her voice! TaDa.

As I said, know your character. Let him/her speak to you, and know the lens through which they see the world. How will they react? Let those things be the clues you need when creating voice. -AH

Monday, June 14, 2010

Picture a literary agency or, for that matter, a publishing house. Picture it as a gnarly, gnashing, gaping maw into which everyone and anyone -- staffer, intern, service provider, cleaner, random member of the general public, lost kitten and stray dog – is compelled to shove as many sheets of paper as s/he can as fast as s/he can. Half of publishing is filing those sheets of paper.

Nowadays, of course, we're all on our virtual way, and many of these sheets appear first on our screens, Manifestations of the Virtual Universe . Virtual paper is a good thing, insofar as it goes. It saves trees, opens up space and cuts down on litter. It's also easier to organize and store than the real thing.

Sadly, however, working with it requires a device that displays text, and that introduces a sheaf of potential difficulties, not the least of which are Big Butt, Humpback, Stiff Neck, Dead Foot, Prickly Foot, Carpel Tunnel and Red Eye and Glue Eye. Therefore, those of us working constantly with manuscripts that may be hundreds of pages long are often moved to Print Out our documents. I put my pages face up in a box, and turn them over one by one into the box's lid as I read. This would work well, if I were a machine, but I am nothing if not organic. I incline to disorganization.

Invariably, the sequence of pages is lost. And half the time, it turns out the pages ARE NOT NUMBERED. Whole half hours may be swallowed, gone forever, in the ensuing paper shuffles.

People, many people, submit manuscript without numbering the pages. And in that blithe moment when I hit the print button, I blot out the memory of the insanity of it. Nor I do not see it when I glance at the stack; in accordance with tradition, cover sheets and first pages are not numbered.

Friday, June 11, 2010

Wow! You guys basically hit (all) the nail(s) on the head, but I'm going to add a few things...

Here we have it, the verdict on my bizarre little pitch. In Linn's words, "There is no actual connection between sentence one and sentence two."

WhenKing Zorth of the Quadrons son Cartooga, a half-Boolakey, half-Kindo bastard is thrown into the dungeons on the planet Honpoog, a political nightmare ensues between the Zorths and their blood enemy, the bloodthirsty Mamyziths. Aided by Zorth's son's friend's, Omipoko the Goolgish, Kinsana the Filtrye, and their omnipedded furry friend HoofHoof, the fellowship enters the dragon's lair to rescue the bastard prince of Cartooga.

The first sentence is like a pitch in and of itself (albeit a bad one). What about that political nightmare when it comes to the fellowship? These are two different stories.

The Intern's comments are awesome too:

The first sentence is incomprehensible - I'm exhausted by the end.

Cartooga is the son? Or is he the place? Zorth a name or a people? Inconsistent!

(My favorite) All these names tell me nothing. What the heck is a (or where the heck) is a Quadron? A Boolakey? Kindo? None of these words mean anything to me? Leave 'em out! Who cares!

Is the dragon's lair metaphorical? (In SF, you have to be ubercareful about your metaphors. There really could be a dragon!)

(another of my faves) What is the plot?

The second sentence: GRAMMAR!!! Who is being aided by whom? As it presently stands, the fellowship is being aided by the fellowship.

TADA. Writing a query is tough, but writing one that seeks to describe a whole new world has its own set of problems. Keep it simple. Remember that the person reading your query hasn't been to this world. Try and take me there. These are still characters and places, though they may have scales and live in upside-down trees on the planet, oh nevermind. -AH

Monday, June 7, 2010

When I first started here, I was amazed by the places and people authors had invented and included in the query. On the one hand, I really do want to know how well thought out and constructed your new world is. On the other hand, how much can really get across in a 250 word query letter? I would open the mail and see things like this:

WhenKing Zorth of the Quadrons son Cartooga, a half-Boolakey, half-Kindo bastard is thrown into the dungeons on the planet Honpoog, a political nightmare ensues between the Zorths and their blood enemy, the bloodthirsty Mamyziths. Aided by Zorth's son's friend's, Omipoko the Goolgish, Kinsana the Filtrye, and their omnipedded furry friend HoofHoof, the fellowship enters the dragon's lair to rescue the bastard prince of Cartooga.

This little gem is a snippet of my own unruly imagination, but can anyone tell me what's wrong with this picture? I'd like to open the floor and see what you all think about my pitch. Linn is going to weigh in later, after we get some feedback from other authors.

-AH

I'll eat you with my killer x-ray eyes if you do this! ZOOM ZOOM ZOOM!

Thursday, June 3, 2010

Kage Baker’s HOTEL UNDER THE SAND is a middle-reader published by Tachyon Press, and was originally developed as a personal project as a chapter-by-chapter gift to a young niece experiencing some difficult years. It has been nominated for the Mythopoeic Award for Children’s Literature. We hope, of course, that she wins, but the nomination alone is a signal honor. It establishes Baker in the league of fantasy’s finest -- where, of course, she belongs.

As this and many other sites, conferences and publications, are giving so much time and attention to what the French are calling Bit Lit –- tales focused on the lives and loves of persons with fangs and their ilk – I think it appropriate to use this space to remind readers of the classics, the great works of U.S. fantasy publishing, a phenomenon some may not know not only honors the works of Tolkien but actually, historically, began with their publication.

The Mythopoeic Society is a national/international organization promoting the study, discussion, and enjoyment of fantastic literature. It is especially interested in the works of J.R.R. Tolkien, C.S. Lewis, and Charles Williams, prominent members of the informal Oxford literary circle known as the “Inklings” (1930s-1950s).

The Mythopoeic Fantasy Award for Adult Literature is given to the previous year’s fantasy novel, series or single-author story collection that best exemplifies “the spirit of the Inklings”.

The Mythopoeic Fantasy Award for Children’s Literature honors books for younger readers (from “Young Adults” to picture books for beginning readers), in the tradition of The Hobbit or The Chronicles of Narnia. Rules for eligibility are otherwise the same as for the Adult literature award.

The award for publications for adults began in 1971. The Award for Children’s Literature was first given in 1992. All the winners and nearly all the nominees are named here. The list appears here with the permission of:David OberhelmanMythopoeic Awards AdministratorE-mail: awards@mythsoc.org

1982Little, Big by John Crowley *Delusion’s Master by Tanith LeeThe Woman Who Loved the Moon by Elizabeth A. LynnThe Many-colored Land by Julian MayThe Sable Moon by Nancy SpringerClaw of the Conciliator by Gene Wolfe

1983The Firelings by Carol Kendall *The Mists of Avalon by Marion Zimmer BradleyThe One Tree by Stephen R. DonaldsonQueen of Sorcery by David EddingsGod Stalk by P.C. HodgellThe Blue Sword by Robin McKinleyThe Door in the Hedge by Robin McKinleyLady of Light by Diana L. PaxsonThe Darkangel by Meredith Ann Pierce

1984When Voiha Wakes by Joy Chant *other nominees not available

1985Cards of Grief by Jane Yolen *Moonheart by Charles de LintThe Damiano Trilogy by R.A. McAvoyThe Hero and the Crown by Robin McKinleyThe Book of Lost Tales by J.R.R. Tolkien

1986Bridge of Birds by Barry Hughart *Dragonsbane by Barbara HamblyDark of the Moon by P.C. HodgellFire and Hemlock by Diana Wynne JonesAlways Coming Home by Ursula K. Le GuinThe Wandering Unicorn by Manuel Mujica Lainez

1987The Folk of the Air by Peter S. Beagle *The Fionavar Tapestry by Guy Gavriel KayTales from the Flat Earth by Tanith LeeMerlin’s Booke by Jane Yolen

1988Seventh Son by Orson Scott Card *War for the Oaks by Emma BullThe Falling Woman by Pat MurphyLincoln’s Dreams by Connie Willis

1990The Stress of Her Regard by Tim Powers *Prentice Alvin by Orson Scott CardThe Changeling Sea by Patricia A. McKillipThe City, Not Long After by Pat MurphyFool on the Hill by Matt Ruff

1991Thomas the Rhymer by Ellen Kushner *Tigana by Guy Gavriel KayTehanu by Ursula K. Le GuinOnly Begotten Daughter by James MorrowThe Books of Great Alta by Jane Yolen

1992AdultA Woman of the Iron People by Eleanor Arnason *Tam Lin by Pamela DeanMoonwise by Greer Ilene GilmanThe Sorceress and the Cygnet by Patricia A. McKillipBeauty by Sheri S. TepperChildren’sHaroun and the Sea of Stories by Salman Rushdie *Jeremy Thatcher, Dragon Hatcher by Bruce CovilleCastle in the Air by Diana Wynne JonesElsewhere by Will ShetterlySong of the Gargoyle by Zilpha Keatley Snyder

1994AdultThe Porcelain Dove by Delia Sherman *The Innkeeper’s Song by Peter S. BeagleThe Cygnet and the Firebird by Patricia A. McKillipDeerskin by Robin McKinleyChildren’sThe Kingdom of Kevin Malone by Suzy McKee Charnas *The Mystery of the Cupboard by Lynne Reid BanksThe Giver by Lois LowryNevernever by Will ShetterlyCalling on Dragons by Patricia C. Wrede

1995AdultSomething Rich and Strange by Patricia A. McKillip *The Dubious Hills by Pamela DeanThe Hollowing by Robert HoldstockTemporary Agency by Rachel PollackChildren’sOwl in Love by Patrice Kindl *The Princess and the Lord of Night by Emma BullSwitching Well by Peni R. GriffinA Knot in the Grain and Other Stories by Robin McKinleyGood Griselle by Jane Yolen

1996AdultWaking the Moon by Elizabeth Hand *Brittle Innings by Michael BishopAll the Bells on Earth by James P. BlaylockThe Book of Atrix Wolfe by Patricia A. McKillipThe Dragon Path by Kenneth MorrisChildren’sThe Crown of Dalemark by Diana Wynne Jones *The Boggart by Susan CooperFalcon’s Egg by Luli GrayWren’s War by Sherwood SmithThe Mennyms by Sylvia Waugh

1997(Adult and Children’s Awards combined)The Wood Wife by Terri Windling *One for the Morning Glory by John BarnesWinter Rose by Patricia A. McKillipFair Peril by Nancy SpringerThe Book of the Long Sun by Gene Wolfe

1999AdultStardust by Neil Gaiman and Charles Vess *Someplace to be Flying by Charles de LintThe History of our World Beyond the Wave by R.E. KleinSong for the Basilisk by Patricia A. McKillipThe High House by James StoddardChildren’sDark Lord of Derkholm by Diane Wynne Jones *Heavenward Path by Kara DalkeyElla Enchanted by Gail Carson LevineThe Squire’s Tale by Gerald MorrisHarry Potter and the Philosopher’s Stone by J.K. Rowling

2000AdultTamsin by Peter S. Beagle *Elementals by A.S. ByattDark Cities Underground by Lisa GoldsteinThe Wild Swans by Peg KerrThe Book of Knights by Yves MeynardChildren’sThe Folk Keeper by Franny Billingsley *Skellig by David AlmondThe Circle of Magic series by Tamora PierceHarry Potter and the Prisoner of Azkaban by J.K. RowlingKingdom series by Cynthia Voigt

2001AdultThe Innamorati by Midori Snyder *ravenShadow by Win BlevinsForests of the Heart by Charles de LintThe Sarantine Mosaic (Sailing to Sarantium and Lord of Emperors) by Guy Gavriel KayChildren’sAria of the Sea by Dia Calhoun *Night Flying by Rita MurphyBeast by Donna Jo NapoliGrowing Wings by Laurel WinterBoots and the Seven Leaguers by Jane Yolen

2003AdultOmbria in Shadow by Patricia A. McKillip *A Fistful of Sky by Nina Kiriki HoffmanThe Fall of the Kings by Ellen Kushner and Delia ShermanChildren’sSummerland by Michael Chabon *Tithe: A Modern Faerie Tale by Holly BlackHouse of the Scorpion by Nancy FarmerCoraline by Neil GaimanHeir Apparent by Vivian Vande Velde

2005AdultJonathan Strange & Mr. Norrell by Susanna Clarke *The Anvil of the World by Kage BakerMortal Love by Elizabeth HandAlphabet of Thorn by Patricia A. McKillipThe Wizard Knight by Gene Wolfe consisting of (The Knight and The Wizard)Children’sA Hat Full of Sky by Terry Pratchett *Arthur Trilogy by Kevin Crossley-Holland (consisting of The Seeing Stone, At the Crossing Places, and King of the Middle March)Sea of Trolls by Nancy FarmerTrilogy consisting of Wise Child, Juniper, and Colman by Monica FurlongThe Abhorsen Trilogy by Garth Nix (consisting of Sabriel, Lirael: Daughter of the Clayr, and Abhorsen)

2006(Adult)Anansi Boys by Neil Gaiman *The Penelopiad by Margaret AtwoodThe Hallowed Hunt by Lois McMaster BujoldMetallic Love by Tanith LeeThe Strange Adventures of Rangergirl by Tim PrattChildren’sThe Bartimaeus Trilogy by Jonathan Stroud * (consisting of The Amulet of Samarkand, The Golem’s Eye, and Ptolemy’s Gate)Valiant by Holly BlackWizards at War by Diane DuaneBy These Ten Bones by Clare B. Dunkle

Friday, May 28, 2010

I adore reading young adult fiction, and I know how rare it is to find a YA book without some sort of love interest. It makes sense; teens are crushing and they want their reading experience to reflect that. (Read: Vampires, the ultimate in unrequited love. Talk about a "crush.") Still, I wonder about all the triangles happening these days.

Since when did having to decide between two potentials become the only way to deepen a protagonist's emotion? Maybe readers just enjoy identifying with a protagonist who is so loved. Still, what happened to just deciding if you love the guy in the first place? Maybe real love in the YA genre is DOA. I mean, when does all this mushy stuff happen? In the cafeteria? Talking about homework? In PE, while ducking a red rubber ball during dodge-ball? That's hot.

Sure, there's something to be said for love at first sight. But I for one would like to see more development going on between the two would-be lovers, than a half-baked "pick me" "no pick me" conflict-for-the-sake-of-conflict.

What do you all think? Triangles you thought were successful? Unsuccessful? Do you find them frustrating? A cheap way to thicken the conflict? Post your thoughts on this one! - AH

Thursday, May 27, 2010

In follow up to a post that will likely continue as a three part series, I ask the question - Why Supernatural? Why Now? Some authors at the BEA had a few things to say about it. The panel Paranormal Fiction for Teens: From Vampires to Werewolves to Zombies and Shape ShiftersfeaturedRichelle Mead, author of the VAMPIRE ACADEMY series; Andrea Cremer author of NIGHTSHADE; Holly Black: WHITE CAT and ZOMBIES vs UNICORNS, and Ivy Devlin, author of LOW RED MOON.

Two interesting points:

The idea of a transformation that occurs at the result of an uncontrollable emotion. (Certainly as a teen, I too might have been called beastly by mom.)

The consequences of that change: unintentionally hurting those around you. Also, part of the teen experience for many.

I'll add to the list this: Immortality. My teenage years were filled with scary, stupid, reckless decisions. I never thought I was immortal, but the issue of mortality just didn't apply to me yet. Did I want to be immortal? Sure. Why not. Bring it on. More time to finish my homework. I think that being absorbed in a story that has to potential to go on forever is highly attractive, not just to teens.

Later, I asked Richelle Mead what her thoughts on the future of these immortal beings may be. It's her belief that the way in which the creatures are presented to readers will shift, but still remain popular. I'd go along with that. I'd also say that all things wax and wane and while we are in a period where this is it, all things find their turn at the bottom of the wheel. Eventually, that is. Rome had a pretty long run.

Friday, May 21, 2010

It was very good that TWONG -- known to people who are neither myself nor Kathleen Bartholomew, sister to the late, great Kage Baker, as THE WOMEN OF NELL GWYNN’S -- won its Nebula for best Novella last weekend at Nebulas Weekend in Cocoa Beach. The story wasn’t An All Time Favorite among the family, but it’s solid. And winning mattered a lot to me and Kathleen, who is old enough and experienced enough to know that an author wins an award when it’s time for her to win.

Fortunately, when three people had approached Kathleen and told her that, really, the nomination wasn’t the SF Literati equivalent of a belated pity fuck, she asked me what to think. I said they were telling the truth and she should believe them. So she did.

That is she did, until we opened the program at the banquet/awards event and saw that Kage’s bio piece had been omitted. She was livid. Truly. But like her sister, Kathleen is a lady, so I knew it wasn’t likely she’d lose it. I started to cry, but I was crying for her, so I followed her example and sucked it up.

But seated on Kathleen’s right was somebody who must be on the list for the coolest guy in fandom: Steven Silver. I’d never met him before and, actually, didn’t then, but he had a job at the banquet, and that job was troubleshooting. Nice man. And handsome, dressed in a dinner jacket with studs and links. The table kept track of how many minutes Steven was in his seat and how many he was out bagging troubles large and small; his longest stay at the table was seven minutes. Anyway, Steve apologized to Kate for the omission, and he meant it. Which was good; as he did not make the mistake, but, if he were OCD, he could have caught it. But he did think it was a shame. Also, he promised that the piece would appear somewhere else, though I couldn’t hear where.
Then we had Key lime pie.
Then we won!
And then we saw it was the most gorgeous Nebula ever!

Thursday, May 20, 2010

No, not your problem, per se - the problem of your main character. The biggest issue I find when reading queries, and the reason why I choose not to request more material, is that I just can't figure out what the central conflict of the plot is.

So sit down, Authors, and think: What does my main character need to accomplish? Is there a problem that he/she needs to solve? Sure this may sound a bit formulaic. It is. If your story is more character driven, you may need to approach this differently. But for those of you who are writing high-concept manuscripts, really think about it. If you don't know, then you really do have a problem.

Signing off,

Amy Hayden

PS: A secret revealed is not, and cannot, be the plot. For example, the plot of Harry Potter isn't that he learns he's a born wizard. It's that he must defeat Lord _______ (hey, I'm superstitious). See? Maybe the reveal of the secret is the impetus for the rest of the novel; if so, tell me what comes next. How does this change the character's life?

About The Agency

Linn Prentis has 15 years of experience as a literary agent, getting her start with Virginia Kidd Agency. There she dug her roots in representing quality, pioneering Science Fiction and Fantasy. After a few twists and turns in the road Linn Prentis Literary was formed. Linn's client base still consists of largely Science Fiction and Fantasy, though her interests extend far beyond.

Our phone number is 212 876 8557.An agency is a busy place. Calling the agency to ask about your query is a less than optimum solution. Please email ahayden, or in the case where you have not received an answer, righthand (at) linnprentis (dot) com